As to its love, that is not only seen in its wish and struggle to quicken all with the warm throb of happy life, but is also clearly manifested in the lingering over its creations with clinging fondness, ‘hating nothing that it maketh,’ pruning, elaborating, and laboring to gift with beauty the works of its patient hands, finishing every line in love, that it too may feel its creations to be ‘good.’  For Love not only gives wings, but also vital heat and life, to Genius.

Thus we again arrive at the fact that the two Divine attributes of Truth and Love, in their finite form indeed, but still ‘images,’ are absolutely necessary for the creation of any true work of Art.  No work can be great without their manifestation; unless they have brooded with their silvery wings over its progress to perfection; and in exact proportion to their manifestation will be its greatness.  On these two attributes in God repose in holy trust the universes He hath made; and that which typifies or suggests His faithfulness and love to the soul created to enjoy Him, must be a source, not only of Beauty, but of Delight.

     ’For He made all things in wisdom; and Truth is perpetual and
     immortal.’

     ’For Thou lovest all things that are, and hatest none of the
     things Thou hast made; for Thou didst not appoint or make anything,
     hating it.’

We make no attempt to give an enumeration of the attributes on which Beauty is based; we would rather induce the reader to examine his Maker’s great Book of Symbols for himself.  We hope we have turned his attention to the fact that every Letter in this sacred Language is full of meaning; enough to induce him to investigate the glorious mysteries of the ‘Open Secret.’

Whatever may be the decisions of the men of the senses, or the men of the schools, let him fearlessly condemn any work in which he cannot find wrought into its very heart suggestions or manifestations of the Divine attributes, or an earnest effort on the part of its author, naive and unconscious as it may be, to imitate the Spirit of the Great Artist.

We have placed the Rosetta stone of Art, with its threefold inscriptions in Sculpture, Painting and Music, with their union or resume in Poetry, before him; we have given him the key to some of its wondrous hieroglyphics; let him study the remaining letters of this mystical alphabet for himself!  These inscriptions are indeed trilingual, phonetic, and sacred, yet the simple and loving soul may decipher them without the genius of Champollion; their meaning is written within it.  It will readily learn to connect the sign with the thing signified, and under the fleeting forms of rhythmed time and measured space, learn to detect the immutable principles which are to be its glory and joy for eternity!

CURRENCY AND THE NATIONAL FINANCES.

1. History of the Bank of England, its Times and Traditions, from 1694 to 1844. By JOHN FRANCIS.  First American Edition. With Notes, Additions, and an Appendix, including Statistics of the Bank to the close of the year 1861. By J. SMITH HOMANS, Author of the ’Cyclopaedia of Commerce and Commercial Navigation.’  New York. 8vo, pp.476.